The National Book Awards (US): the best-written work on the fiction shortlist
Plus the best-written previous winner
COMING SOON:
—November is the busiest month for literary prizes, so we’ll be featuring the best-written books from their shortlists, and also from the century’s previous winners of these prizes. To avoid sending you too many posts, we’ll leave the recent releases until December.
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IN TODAY’S ISSUE
—‘Maybe it was that Cyrus had done the wrong drugs in the right order, or the right drugs in the wrong order, but when God finally spoke back to him after twenty-seven years of silence, what Cyrus wanted more than anything else was a do-over’: the best-written work on this year’s shortlist for the National Book Award for fiction. The winner will be announced on the 20th of November.
—’According to the telephone (for perhaps I did listen in once, treasonously), Europe Central’s not a nest of countries at all, but a blank zone of black icons and gold-rimmed clocks whose accidental, endlessly contested territorial divisions (essentially old walls from Roman times) can be overwritten as we like, Gauleiters and commissars blanching them down to grey dotted lines of permeability convenient to police troops’: the best-written winner this century of the NBA for fiction. This choice is part of our project to identify the best-written books of the century.
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THE NATIONAL BOOK AWARDS (US) 2024 SHORTLIST FOR FICTION
Pemi Aguda, Ghostroots
Kaveh Akbar, Martyr!
Percival Everett, James
Miranda July, All Fours
Hisham Matar, My Friends
The best-written of these is
CYRUS SHAMS
KEADY UNIVERSITY, 2015
MAYBE IT WAS THAT CYRUS HAD DONE THE WRONG DRUGS IN THE right order, or the right drugs in the wrong order, but when God finally spoke back to him after twenty-seven years of silence, what Cyrus wanted more than anything else was a do-over. Clarification. Lying on his mattress that smelled like piss and Febreze, in his bedroom that smelled like piss and Febreze, Cyrus stared up at the room’s single light bulb, willing it to blink again, willing God to confirm that the bulb’s flicker had been a divine action and not just the old apartment’s trashy wiring.
“Flash it on and off,” Cyrus had been thinking, not for the first time in his life. “Just a little wink and I’ll sell all my shit and buy a camel. I’ll start over.” All his shit at that moment amounted to a pile of soiled laundry and a stack of books borrowed from various libraries and never returned, poetry and biographies, To the Lighthouse, My Uncle Napoleon. Never mind all that, though: Cyrus meant it. Why should the Prophet Muhammad get a whole visit from an archangel? Why should Saul get to see the literal light of heaven on the road to Damascus? Of course it would be easy to establish bedrock faith after such clear-cut revelation. How was it fair to celebrate those guys for faith that wasn’t faith at all, that was just obedience to what they plainly observed to be true? And what sense did it make to punish the rest of humanity who had never been privy to such explicit revelation? To make everyone else lurch from crisis to crisis, desperately alone?
But then it happened for Cyrus too, right there in that ratty Indiana bedroom. He asked God to reveal Himself, Herself, Themself, Itself, whatever. He asked with all the earnestness at his disposal, which was troves. If every relationship was a series of advances and retreats, Cyrus was almost never the retreat-er, sharing everything important about himself at a word, a smile, with a shrug as if to say, “Those’re just facts. Why should I be ashamed?”
He’d lain there on the bare mattress on the hardwood floor letting his cigarette ash on his bare stomach like some sulky prince, thinking, “Turn the lights on and off lord and I’ll buy a donkey, I promise I’ll buy a camel and ride him to Medina, to Gethsemane, wherever, just flash the lights and I’ll figure it out, I promise.” He was thinking this and then it—something—happened. The light bulb flickered, or maybe it got brighter, like a camera’s flash going off across the street, just a fraction of a fraction of a second like that, and then it was back to normal, just a regular yellow bulb.
Cyrus tried to recount the drugs he’d done that day. The standard bouquet of booze, weed, cigarettes, Klonopin, Adderall, Neurontin variously throughout the day. He had a couple Percocets left but he’d been saving them for later that evening. None of what he’d taken was exotic, nothing that would make him out and out hallucinate. He felt pretty sober in fact, relative to his baseline.
He wondered if it had maybe been the sheer weight of his wanting, or his watching, that strained his eyes till they saw what they’d wanted to see. He wondered if maybe that was how God worked now in the new world. Tired of interventionist pyrotechnics like burning bushes and locust plagues, maybe God now worked through the tired eyes of drunk Iranians in the American Midwest, through CVS handles of bourbon and little pink pills with G 31 written on their side. Cyrus took a pull from the giant plastic Old Crow bottle. The whiskey did, for him, what a bedside table did for normal people—it was always at the head of his mattress, holding what was essential to him in place. It lifted him daily from the same sleep it eventually set him into.
Lying there reflecting on the possible miracle he’d just experienced, Cyrus asked God to do it again. Confirmation, like typing your password in twice to a web browser. Surely if the all-knowing creator of the universe had wanted to reveal themselves to Cyrus, there’d be no ambiguity. Cyrus stared at the ceiling light, which in the fog of his cigarette smoke looked like a watery moon, and waited for it to happen again. But it didn’t. Whatever sliver of a flicker he had or hadn’t perceived didn’t come back. And so, lying there in the stuffy haze of relative sobriety—itself a kind of high—amidst the underwear and cans and dried piss and empty orange pill bottles and half-read books held open against the hardwood, breaking their spines to face away—Cyrus had a decision to make.
SHORTLISTED FOR WATERSTONES DEBUT FICTION PRIZE 2024
A BARNES & NOBLE DISCOVER PRIZE FINALIST
NAMED A BEST BOOK OF 2024 BY THE NEW YORK TIMES, AMAZON, and TIME
Cyrus Shams has always been lost. He’s grown up tangled in the mysteries of his past – an uncle who rode through Iranian battlefields, a haunting work of art by an exiled painter, and his mother, whose plane was shot down over the Persian Gulf when he was just a baby. Now, newly sober and maybe in love, he’s headed for an encounter that will transform everything he thought he knew. Can a final revelation change the truth of Cyrus's life?
RECOMMENDED:
THE NATIONAL BOOK AWARD FOR FICTION - PREVIOUS WINNERS THIS CENTURY
2001: Jonathan Franzen, The Corrections
2002: Julia Glass, Three Junes
2003: Shirley Hazzard, The Great Fire
2004: Lily Tuck, The News from Paraguay
2005: William T. Vollmann, Europe Central
2006: Richard Powers, The Echo Maker
2007: Denis Johnson, Tree of Smoke
2008: Peter Matthiessen, Shadow Country
2009: Colum McCann, Let the Great World Spin
2010: Jaimy Gordon, Lord of Misrule
2011: Jesmyn Ward, Salvage the Bones
2012: Louise Erdrich, The Round House
2013: James McBride, The Good Lord Bird
2014: Phil Klay, Redeployment
2015: Adam Johnson, Fortune Smiles
2016: Colson Whitehead, The Underground Railroad
2017: Jesmyn Ward, Sing, Unburied, Sing
2018: Sigrid Nunez, The Friend
2019: Susan Choi, Trust Exercise
2020: Charles Yu, Interior Chinatown
2021: Jason Mott, Hell of a Book
2022: Tess Gunty, The Rabbit Hutch
2023: Justin Torres, Blackouts
The best-written of these is
STEEL IN MOTION
As often as not, the things that attract us to another person are quite trivial, and what always delighted me about Blumentritt was his fanatical attachment to the telephone. —Field-Marshal Erich von Manstein (1958)
1
A squat black telephone, I mean an octopus, the god of our Signal Corps, owns a recess in Berlin (more probably Moscow, which one German general has named the core of the enemy’s whole being). Somewhere between steel reefs, a wire wrapped in gutta-percha vibrates: I hereby . . . zzzzzzz . . . the critical situation . . . a crushing blow. But because these phrases remain unauthenticated (and because the penalty for eavesdropping is death), it’s not recommended to press one’s ear to the wire, which bristles anyhow with electrified barbs; better to sit obedient, for the wait can’t be long; negotiations have failed. Away flees Chamberlain, crying: Peace in our time. France obligingly disinterests herself in the Prague government. Motorized columns roll into snowy Pilsen and keep rolling. Italy foresees adventurism’s reward, from which she would rather save herself, but, enthralled by the telephone, she somnambulates straight to the balcony to declare: We cannot change our policy now. We are not prostitutes. The ever-wakeful sleepwalker in Berlin and the soon-to-be-duped realist in the Kremlin get married. This will strike like a bomb! laughs the sleepwalker. All over Europe, telephones begin to ring.
In the round room with the fan-shaped skylight, with Greek gods ranked behind the dais, the Austrian deputies sit woodenly at their wooden desks, whose black rectangular inlays enhance the elegance; they were the first to accept our future; their telephone rang back in ’38. Bulgaria, denied the British credits which wouldn’t have preserved her anyway, receives the sleepwalker’s forty-five million Reichsmarks. The realist offers credits to no one but the sleepwalker. Shuffling icons like playing cards, Romania reiterates her neutrality in hopes of being overlooked. Yugoslavia wheedles airplanes from Germany and money from France. Warsaw’s humid shade is already scented with panic-gasps. The wire vibrates: Fanatical determination . . . ready for anything.
According to the telephone (for perhaps I did listen in once, treasonously), Europe Central’s not a nest of countries at all, but a blank zone of black icons and gold-rimmed clocks whose accidental, endlessly contested territorial divisions (essentially old walls from Roman times) can be overwritten as we like, Gauleiters and commissars blanching them down to grey dotted lines of permeability convenient to police troops. Now’s the time to gaze across all those red-grooved roof-waves oceaning around, all the green-tarnished tower-islands rising above white facades which grin with windows and sink below us into not yet completely telephone-wired reefs; now’s the time to enjoy Europe Central’s café umbrellas like anemones, her old grime-darkened roofs like kelp, her hoofbeats clattering up and bellnotes rising, her shadows of people so far below in the narrow streets. Now’s the time, because tomorrow everything will have to be, as the telephone announces, obliterated without warning, destroyed, razed, Germanified, Sovietized, utterly smashed. It’s an order. It’s a necessity. We won’t fight like those soft cowards who get held back by their consciences; we’ll liquidate Europe Central! But it’s still not too late for negotiation. If you give us everything we want within twenty-four hours, we’ll compensate you with land in the infinite East.
In Mecklenburg, we’ve prepared a demonstration of the world’s first rocket-powered plane. Serving the sleepwalker’s rapture, Göring promises that five hundred more rocket-powered planes will be ready within a lightning-flash. Then he runs out for a tryst with the film star Lida Baarova. In Moscow, Marshal Tukhachevsky announces that operations in a future war will unfold as broad maneuver undertakings on a massive scale. He’ll be shot right away. And Europe Central’s ministers, who will also be shot, appear on balconies supported by nude marble girls, where they utter dreamy speeches, all the while listening for the ring of the telephone. Europe Central will resist, they say, at least until the commencement of Case White. Every man will be issued a sweaty black machine-carbine, probably hand-forged, along with ten round lead bullets, three black pineapple grenades each not much larger than a pistol grip, and a forked powder horn of yellowed ivory adorned with circle-inscribed stars . . .
A daring literary masterpiece of historical fiction that weaves together the gripping stories of those caught in the web of authoritarian rule.
Through interwoven narratives that paint a portrait of 20th century Germany and the USSR and the monstrous age they defined, Europe Central captures a chorus of voices both real and fictional--a young German who joins the SS to fight its crimes, two generals who collaborate with the enemy for different reasons, and the tumultuous life of Soviet composer Dmitri Shostakovich amidst Stalinist oppression.
In this magnificent work of fiction, acclaimed author William T. Vollmann turns his trenchant eye on these two authoritarian cultures to render a mesmerizing perspective on human experience during wartime.
Fantastic! Loved Vollmann's book. Read it when it first came out. Buying Martyr! as I'm writing this.
Cheers!